★ / ★★★★
I was excited to see “Legion” because the trailer took ahold of my interest, but unfortunately, it was one of those movies that mistakenly put all the good parts in the trailer. Paul Bettany stars as an angel who decided to descend from heaven to protect a pregnant woman (Adrianne Palicki) whose child was supposed to be the Messiah. A group of characters (Lucas Black, Tyrese Gibson, Percy Walker, Dennis Quaid, Jon Tenney, Willa Holland, Kate Walsh and Palicki) were stuck in a diner in the middle of nowhere as humans with weak wills were possessed by angels and tried to kill them. Basically, God lost faith in humanity so he wanted to eradicate everyone. I don’t even know where to start with this movie. While the acting was subpar at best, the writing was even worse because not only did the premise not make sense but it also failed to come together in the end. Aside from the scene with the old lady visiting the diner, there was a strange lack of tension or excitement especially for a movie about the end of the world. The experience would probably have been more bearable if there were more likable characters. All of them complained so much to the point where I just didn’t want to hear it. I couldn’t believe that their very first scenes were full of whining. They expressed so much self-pity; instead of wanting to root for them to survive against all odds, I just wanted them to die because I didn’t see another dimension to them. To me, they were just weak individuals and I had a difficult time accepting the fact that they managed to survive for so long. As for the action, I don’t know whether to laugh or feel sad with the idea that bullets could stop angels (using humans as vessel) from the job they were assigned to do. I constantly wondered why the angels just didn’t descend from the heavens like Bettany’s character and finish the job themselves? I was so confused for the longest time and it was really painful to sit through. Action sequences were happening on screen but I just didn’t care because I wasn’t invested in the premise despite the fantastic elements. Talents of essentially good actors like Bettany, Quaid and Gibson were wasted in this piece of silliness. Thankfully, I saw this movie on DVD. If I had paid $10 to see this in the cinema, I think I would have demanded my money back. “Legion,” directed by Scott Stewart, didn’t have a defined identity (perhaps it can pass as a really bad zombie picture?) and a genuine driving force to keep the momentum going so it didn’t know what to do with itself. But I know what I wanted to do: I wanted to turn the movie off. The only reason why I didn’t is because one of my rules is to give each movie equal opportunity from start to finish.
★★ / ★★★★
Clocking in under 80 minutes, “9” tells the story of ragdoll-like creatures in a postapocalyptic world who struggle to survive against the machines. When one of the creatures named 9 (voiced by Elijah Wood) woke up, he started to ask questions like what had happened in the world, why they had to live in fear, and what they could do so that they would have a better existence. 1 (Christopher Plummer), the leader of the creatures, did not like 9’s questions and they often clashed on how to approach various situations. Other voices included Martin Landau, John C. Reilly, Crispin Glover, Jennifer Connelly and Fred Tatasciore. Written and directed by Shane Acker, I did like the imagination and the high level of animation in “9” but I felt like the story could have used a lot of work. Only toward the end did it somewhat come together which was not a good thing because I was confused for more than half the picture. It brought up more questions than answers. For instance, it tried to tackle the war between humans and machines, the concept of having a soul, and immortality. Such complex and controversial subjects were merely glossed over when it should really have been discussed and explored. For a movie that was only 80 minutes long, that certainly did not help when it came to having more depth in the story. I admired the action sequences. They were undeniably exciting because I did care for the creatures. Even though they did not look remotely human, I quickly cared about them due to their ability to think like we do and feel like we do, especially 9 because he was capable of moral evaluation. With that said, I don’t think this film was made for children because it was violent, dark and sometimes the characters met a brutal death. I hate to say this because I know this film took a lot of effort to make but I believe that if the filmmakers spent more time adding scenes that could enhance the issues it tried to deal with, “9” would have been a superior animated feature. I do give it credit, however, for not trying to be another cute Pixar movie designed for children. I could easily tell that it was trying to be something more but unfortunately the missing pieces were just too jarring for me to ignore.
The Road (2009)
★★★ / ★★★★
Based on the novel by Cormac McCarthy, “The Road” focused on a father (Viggo Mortensen) and his son (Kodi Smit-McPhee) as they traveled to the south of the United States, on foot, in hopes of finding a place where they could be safe from cannibals and starvation. A post-apocalyptic film in every respect, the look of the picture was very bleak–everything was grey and characters were covered in mud and grime. The only warmth that was present was the bond between the father and son as they evaded gangs who killed and ate people and who had stooped so low that they were willing to molest children. Mortensen did a great job portraying a father who wanted to be a model for his son just in case he met an untimely death. I was impressed because even though his character was nurturing (the mother, played by Charlize Theron, passed away), there was a certain toughness about him that was so precise when circumstances turned for the worst. On the other hand, I was very annoyed with Smit-McPhee’s character because he was so whiny about everything. For having a father who obviously tried his hardest to protect and provide for him, during the first half, the kid found every reason to whine and mope. I seriously wanted to shake (or punch) the kid to knock some sense into him. Fortunately, during the second half, he grew on me because he provided a much needed heart to the story, especially when they met an old man and a thief, Robert Duvall and Michael K. Williams, respectively. As much as this film was depressing, I didn’t think it was monotonous like some audiences suggested. I thought it was very suspenseful, especially the scene when the father and son went into a cellar to find the most horrific images. Strangely enough, I also thought it was hopeful because of the strong relationship between the two leads. They kept talking about a “fire” inside them (a religious implication, I’m not entirely sure) that helped them to continue their journey while at the same keeping their humanity. The tone was complex and it was definitely easy to get lost in bleak atmosphere if one was not emotionally invested in the characters. As the film came to an emotionally draining conclusion, I started to think about life and how it would eventually end for myself, my friends and my family. It just made me incredibly sad and I couldn’t help but turn on the waterworks. “The Road” may not have been as strong as critics expected it to be but it’s nonetheless a solid film with a heart despite the exploration of the darker side of humanity. There was something very poetic about the whole experience right from the start so I was glued all the way through.
The Fifth Element (1997)
★★★ / ★★★★
I didn’t know much about this movie when I decided to watch it so my expectations were not that high. I thought it was going to be another one of those science fiction movies that deals with the apocalypse and so happens to take itself way too seriously. I couldn’t be anymore more wrong because “The Fifth Element,” written and directed by Luc Besson, was as funny and interesting as the vibrant colors that could be found in it throughout. Every 5,000 years, a strange power appears and tries to engulf life. It could be stopped by combining the powers of fire, water, wind, earth and the supposed “fifth element” for another five thousand years and the cycle continues. Bruce Willis stars as Korben Dallas, a taxi driver in futuristic New York who used to work for the military. He got sucked into the madness of intergalactic battle when Milla Jovovich–the fifth element, also known as the perfect being–literally dropped into his taxi. Their mission was to gather all the elements and save the planet from being obliterated into oblivion. Gary Oldman as the evil Zorg, Ian Holm as the priest, and Chris Tucker as the hilariously flamboyant DJ also star. I enjoyed this movie more than I expected to because its pace was quick; it didn’t dwell on the specifics on who’s who and what their intentions and motivations are. This film definitely reminded me of a hybrid between the “Star Wars” saga and the B movies of the 1950’s because it had that nice balance of imagination and humor. The only minor complaint I had was that sometimes it managed to distract itself from the story to make room for some of the more obvious funny moments. Tucker was the one who stole most of the scenes he was in because he was able to focus his manic personality into a character that had to be very enthusiastic about everything every time he was on his program. As for the visual and special effects, yes, they are sort of dated but I really didn’t care because I’m more concerned about the concept, how well a film builds on the story, and how it utilizes its characters. “The Fifth Element” is one of those movies that one can really enjoy if one doesn’t mind watching something over-the-top on a slow night.
★★★ / ★★★★
I love zombie movies because I’m fascinated with the idea of the dead taking over the world of the living. (Did I mention I have nightmares about zombies?) Not to mention zombie flicks usually have social commentaries which were not absent in this little gem. “Zombieland,” directed by Ruben Fleischer, stars Jesse Eisenberg as Columbus, who wants to make his way to Ohio to be reunited with his parents. On the road, he meets Woody Harrelson as Tallahassee, a man on a mission to find Twinkies; Emma Stone and Abigail Breslin as Wichita and Little Rock, respectively, sisters who initially look innocent but turn out to have a knack for survival. The very “28 Days Later”-like gathering of very different people was smart because all of them yearned for that rare human connection in a world full of flesh-eating monsters. All four of them eventualy head to Southern California in order to find refuge with other humans. I love this movie’s self-awareness. It seemed to know its strengths which were highlighted in the beginning of the film as Eisenberg described his survival guide. It was done with such craft because the jokes were genuinely laugh-out-loud funny so the realization that it was all a gimmick later on became insignificant. The flashback scenes were done well, especially how Eisenberg’s character reflected on how much of a loser he was back when humans still ruled the planet–staying in on a Friday night playing video games, not socializing with people, and not getting enough attention from girls. A lot of people compare him to Michael Cera but I think there’s an important difference between the two. I think Eisenberg’s awkwardness is edgy and his characters usually have a certain toughness. Cera’s awkwardness, on the other hand, is softer and cuter–the kind that makes you go “Aww” and maybe pet him afterwards. That awareness was also highlighted via pop culture references from Russell Crowe, Facebook to Ghostbusters. Comparisons to “Shaun of the Dead” is inevitable because it is a horror-comedy about zombies. But I think “Zombieland” is a little scarier because the characters didn’t stop to analyze a zombie, imitate, and make quirky comments about them. All of that said, I had one problem with the film. I thought it slowed down a bit somewhere in the middle because it spent too much of its time showing the characters bickering on the road. It got redundant and such scenes could have been taken out and instead added terrifyingly slow suspenseful scenes. Lastly, I thought the final showdown at the carnival was inspired. The movie was able to find ways on how to kill zombies using the rides or the characters using the rides to their advantage. It made me want to ride a rollercoaster right then and there. I’ve read audiences’ reviews about how surprised they were with how good the movie was. To be honest, right after I saw the trailer for the first time, I had a sneaky feeling that it was going to be good. It certainly didn’t disappoint and in some ways exceeded expectations. If you love zombie movies, blood and guts, cameos, and pop culture allusions all rolled into one, then see this immediately. It’s total escapism and it has the potential to get better after multiple viewings.
★★ / ★★★★
“Knowing,” directed by Alex Proyas, was about a man who stumbled upon a message from a time capsule written by a strange girl fifty years ago. The message consisted of seemingly random numbers but if one decided to look closer, one would find out that it recorded the events of major disasters that were to transpire in the future. Because of all the negative reviews, I had low expectations coming into it. However, the first third was so effective so I naturally thought that the rest of the picture would be as smart and suspenseful. I couldn’t be any more wrong. Nicolas Cage tends to overact in most of his movies and this one is no exception. To me, he was most effective when he first figured out what all the numbers meant. He was able to balance fear, anxiety and excitement while still being that intellectual that he was presented as in the beginning of the film. But the moment Rose Byrne entered the movie, everything started to feel so unbelievable to point where I lost interest. I can’t believe I’m saying this but she actually upstaged Cage when it came to overacting. I actually said, “Just shut up” during one of the scenes because she interpreted her character in such an irksome manner. As for its special and visual effects, sometimes they looked like scenes from video games but sometimes they impressed me. I particularly liked those plane and subway scenes. They looked really haunting and it was very difficult to dispel the images from my head. If such disasters happened, I was convinced that it would look like that. The last third of the movie felt like a completely different movie altogether. I couldn’t help but wonder what had happened to that patient and sometimes creepy style of storytelling that pervaded the first third. The third act felt like “The Day the Earth Stood Still” (the most recent version), which is not a good thing. Everything felt forced and I had to wonder why the writers felt like they had to do something grand for the sake of being grand. Ultimately, “Knowing” drowned in its own mediocrity. However, I did appreciate its efforts to want to be something more than typical despite its unfortunate yet inevitable outcome.
The Day the Earth Stood Still (2008)
★★ / ★★★★
I haven’t seen the 1951 version by the time I wrote this review so I’m not going to compare the 2008 version to that one. That said, it’s interesting to me how Keanu Reeves can be so good at playing robotic characters (like Neo in “The Matrix” franchise) but so bad at playing real people that are supposed to be emotionally crippled or conflicted (as Alex Wyler in “The Lake House” and Detective Tom Ludlow in “Street Kings”). I thought he was effective here as Klaatu, a humanoid whose role is to determine whether the human species need to be obliterated in order to save the Earth. He was creepy, convincingly powerful, and had a definite sense of purpose. He claims that if the Earth dies, everything else will perish along with it but if all humans die, the Earth and everything that it nurtures will go on living. I thought that was a decent reasoning so I went along with it. What’s unforgivable, however, is its lack of human emotional core. That’s when Jennifer Connely and her step-son (Jaden Smith) come in. Their backstory isn’t enough to convince me why Reeves should spare the human race. In the end, I wanted to see an apocalypse because humans are portrayed as violent people (the United States army) and incapable of standing up to authority, such as when Kathy Bates (as the president’s Secretary of Defense) followed what the president wanted her to do despite her best instincts. There are only four things I liked about the movie which saved it from utter failure: the somewhat brilliant visual effects, Gort as Klaatu’s automaton companion, the idea of humans’ nature regarding a precipice and change, and John Cleese as the Nobel prize-winning professor who we meet in the middle of the picture. The rest is junk, which is a shame because the movie is started off very well. The director, Scott Derrickson, could’ve made a superior film that is more character-driven and less visually impressive. After all, the story is about humanity and why we should be saved from extinction. Since the director lost that core (or maybe he didn’t find it in the first place), the final product is a mess. This picture can be an enjoyable Netflix rental on an uneventful Friday night but do not go rushing into the cinema to see it.